Course Profile
English, Grade 9 applied, Public
Unit 3: Dramatic Forms and Voices
Activity 1 | Activity 2
| Activity 3 | Activity 4 | Activity 5 | Activity 6 | Activity
7 | Activity 8
Unit Developer(s)
Joanne Bridgeman
Elizabeth Mick
Judy Stormes
Ann Varty
Students apply the skills learned in the preceding units to the analysis and study of drama. Students identify, analyse, and interpret the elements of dramatic structure, character, characterization, theme, setting, and stylistic features of drama, including movement and voice. Students come to an understanding of the importance of the context (social, cultural, political) in which a literary work was created. Students use their knowledge and understanding of drama to reach a fuller understanding and appreciation of the writer’s ability to integrate all the elements of drama to create a complex, stimulating, and satisfying work of literature. Students demonstrate their understanding by recording their thoughts, ideas, and feelings about the characters, conflicts, and themes of the work in a variety of personal and interactive responses; and by writing and a literary exposition; by rehearsing and performing a dramatic scene; and by creating and sharing a media work.
Strand(s): Literature Studies and Reading, Writing, Language, and Media Studies
Overall Expectations: LIV.01P, LIV.02P, LIV.03B; LGV.01P, LGV.02B; WRV.02P, WRV.03P, WRV.04B, WRV.05B; MDV.02P.
Specific Expectations: LI1.01P, LI1.02P; LI2.01P, LIP.02P; WR2.01P, WR2.03P, WR3.02P, WR3.03P, WR4.03P, WR5.07B, WR5.08B, WR5.10B, WR5.14B, WR5.16P; LG1.01B, LG1.02B, LG1.04B, LG1.05P, LG1.06B, LG1.07B, LG2.02P, LG2.04P, LG2.07P; MD2.01P, MD2.02P, MD2.03P.
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Activity 1 |
Setting the Stage |
75 minutes |
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Activity 2 |
Reading Between the Lines |
75 minutes |
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Activity 3 |
Voice |
75 minutes |
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Activity 4 |
Movement and Language |
75 minutes |
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Activity 5 |
Creating a Script |
150 minutes |
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Activity 6 |
Design |
150 minutes |
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Activity 7 |
Performance |
225 minutes |
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Activity 8 |
Media Adaptations |
75 minutes |
· Strive to select plays from a variety of cultures and traditions.
· Use Canadian materials.
· Choose a play or plays for study and select scenes from the play or plays that are appropriate to each activity.
· Plan a tour of a school stage or a local theatre or have the class view a stage production, if possible.
· Arrange for the class to move to an open space for student performances, if available, or move classroom furniture to create a safe performance area.
· Possibly invite drama students into the class to demonstrate dramatic voice and movement.
· Set the classroom rules for the safety of students.
· Take measures to create a sense of trust and safety within the class. It is essential to student enjoyment and success in the following activities.
·
The Ontario Curriculum Grades 1-8, Language, 1997.
Students participate in these kinds of activities: improvisation, interpretative readings, data sheets, rôle cards, drama games, writing in rôle, scripts and monologues, collaborative and co-operative learning, Reader’s Theatre, translating story to script, use of computer to design sets, costumes, and lighting, guest speaker (actor, director, and/or writer), field trip to a local theatre, and performance.
Formative:
· writing in rôle with peer editing process
· teacher assessment of group dramatization
Summative: dramatic presentation of scene or scenes
Beissel, H. Cues and Entrances. Toronto: Gage Educational Publishing Company, 1993.
ISBN 0-77151002-0
Boni, F., ed. Rhubarb-O-Rama! Plays and Playwrights from the Rhubarb! Festival. Winnipeg, MAN: Blizzard Publishing, 1998. ISBN 0-921368-78-X
Booth, D. and C. Lundy. Interpretations: Learning Through Drama. Toronto: Harcourt Brace, Canada, 1998. ISBN 0-7747-1210-4
Cavanagh, G. and G. van V. Trip, eds. The Players: Book 2: An Anthology of Plays for Student Production in the Classroom. Toronto: McClelland and Stewart Ltd., 1979. ISBN 0-7710-1941-6
Chekov, A. “The Brute”, Sightlines 9. Scarborough: Prentice Hall Ginn Canada, 1999.
ISBN 0-13-012906-02
Dawe, R., et al. “How to Read a Dramatic Script”, ResourceLines 9/10. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-012906-02
Dawe, R., et al. “How to Stage Plays”, ResourceLines 9/10. Scarborough: Prentice Hall Ginn Canada, 1999.
ISBN 0-13-012906-02
Doolittle, ed. Heroine. Red Deer: Red Deer College Press. ISBN 0-88995-081-4
Gerrold, D. “The Trouble With Tribbles” (TV Script), SightLines 9. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-012906-02
Gifford, T., ed. The Play’s the Thing For Original Television Dramas. Toronto: MacMillan, 1976.
ISBN 0-7705-1291-7
Gilfond, H. “The Open Window” (adapted from Salu’s Story), SightLines 9. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-012906-02.
Kemp, D. A Different Drummer. Toronto: Oxford University Press, 1990. ISBN 0-7710-4518-2
Ladousse, G. P. Role Play Resource Book for Teachers. Alan Marley, ed. Oxford: Oxford University Press, 1987. ISBN 0-19-437095-X
Leckie, Keith. “Words on a Page”, Transitions. Toronto: Harcourt Brace Canada, 1999.
ISBN 0-7747-0575-2.
Lill, Wendy. “The Fighting Days”, SightLines 9. Scarborough: Prentice Hall Ginn Canada, 1999.
ISBN 0-13-012906-02
MacNeill, J. A. Front Row, An Anthology of Plays. Toronto: Nelson, 1984. ISBN 0-17-602054-3
Maitland, M. and I. Waldron, eds. Twelfth Night. Toronto: Harcourt Brace and Company, 1990.
ISBN 0-7747-1365-9
Moher, Frank. “Investigating the Model”, Nelson Language and Learning. Toronto: Nelson, 1999.
ISBN 0-17-618681-6.
Moher, Frank. “Odd Jobs”, Nelson Language and Learning. Toronto: Nelson, 1999.
ISBN 0-17-618681-6.
Neelands, J. and T. Good, eds. Structuring Drama Work: A Handbook of Available Forms in Theatre and Drama. Cambridge: Cambridge University Press, 1990. ISBN 0-521-37635-1
Parkin, A. and J. Stevens, eds. Stage One: A Canadian Scenebook. Toronto: Van Nostrand Reinhold Ltd.1973. ISBN 0-442-26452-6
Playwrights Canada Press Staff. Singular Voices. Toronto, ON: Playwrights Canada Press, 1997,
ISBN 0-88754-510-6
Ravel, A., ed. Canadian Mosaic. Toronto, ON: Simon and Pierre Publishing Company, 1995.
ISBN 0-88924-264-X
Richard-Amato, P. Making It Happen. Interaction in the Second Language Classroom, From Theory to Practice. London: Longman, 1988. ISBN 0-8013-0027-4-75692
Saliani, D. Midsummer Night’s Dream: The Global Shakespeare Series. Toronto: ITP Nelson, 1998. ISBN 0-17-606617-9
Saliani, D., C. Ferguson, and T. Scott. The Tragedy of Romeo and Juliet With Related Readings: The Global Shakespeare Series. Toronto: ITP Nelson, 1997. ISBN 0-17-606613-6
Shakespeare, W. Macbeth. Toronto: Penguin Books Canada, 1999. ISBN 0-14-0711478-2
Stevens, J. Ten Canadian Plays. Toronto: Dell Publishers, 1975. ISBN 0-440-95754-0
Stott, ed. Anthology of Drama & Poetry. Toronto: Harcourt Brace and Company.
ISBN 0-03-998644-6
Swartz, L. Dramathemes: A Practical Guide for Teaching Drama. Markham: Pembroke, 1998.
ISBN 0-921217-21-8
Thompson, J. “I Am Yours”, Transitions. Toronto: Harcourt Brace Canada, 1999.
ISBN 0-7747-0575-2.
Vine, E. and W. Fairhead. Remove The Blindfold, Book 2. Toronto: Oxford University Press, 1987.
ISBN 19-540523-4
Time: 75 minutes
Students become familiar with the conventions of dramatic form and script writing by comparing a narrative and a dramatic presentation of the same text. Script-writing conventions include dialogue, stage directions, characters’ actions, and information regarding the setting, props, and costumes. Students read and study the scene or scenes most appropriate for this activity.
Strand(s): Literature Studies and Reading, Writing, Language
Overall Expectations:
LIV.01P - read and demonstrate an understanding of a variety of literary and informational texts;
LIV.02P - demonstrate an understanding of the elements of a variety of literary and informational forms, with a focus on plays, short stories, and newspaper and magazine articles;
WRV.05B - edit and proofread to produce final drafts, using correct grammar, spelling and punctuation, according to the conventions of standard Canadian English specified for this course, with the support of print and electronic resources when appropriate;
LGV.01P - use knowledge of vocabulary and language conventions to speak, write, and read clearly and correctly.
Specific Expectations:
LI1.01P - describe information, ideas, opinions, and themes in texts they have read during the year from a variety of print and electronic sources including biographies, short stories, poems, plays, novels, brochures, and articles from newspapers, magazines and encyclopaedias;
LI2.01P - use knowledge of elements of drama, such as plot and subplot, character development and revelation, conflict, dialogue, and stage directions, to understand and interpret text in the genre; v
WR5.16B - adapt punctuation and capitalization for the special requirements of direct quotations, scripts, dialogue and poetry;
LG1.01B - describe strategies used to expand vocabulary;
LG1.02B - identify and explain examples of slang, jargon dialect, and colloquialism as well as of standard Canadian English, in literary texts and their own oral and written work;
LG1.07B - recognize, describe, and use correctly, in oral and written language, the conventions of standard Canadian English for spelling, capitalization, and punctuation, including:
- spelling: homophones and possessive pronouns and adjectives;
- capitalization: of proper nouns and in direct quotations, scripts, dialogue, and poetry;
- punctuation: period, question mark, exclamation mark, comma, dash, apostrophe, colon,
quotation marks, parentheses, ellipses.
· A class set of handouts of an excerpt of two forms of the same narrative: script and story (e.g., excerpt from the “Ransom of Red Chief” as a story and a script) is required. Be aware of copyright law.
· Have a master list of script-writing conventions prepared for reference during class discussion, or a model of script writing on an overhead.
· Know the elements and conventions of narrative literature (Unit 1).
· Students are familiar with collaborative and co-operative work habits (Unit 1).
· Students have an understanding of think/pair/share. To think/pair/share, students think individually, pair with someone, and share their ideas. The partners may share with another set of partners and continue into larger groups.
1. Distribute copies of a new text, in a narrative form and a script form. The class reads the narrative excerpt as a group. Student volunteers read the script selection.
In partners, students are to identify what significant differences they see between the script and the narrative.
Students are to think/pair/share with another pair of students. The new group creates a list of script-writing conventions.
Distribute a chart for recording the conventions. The class completes the chart together. Students become familiar with the dramatic terms such as: plot, subplot, character development and revelation, conflict, dialogue, and stage directions. Additional terms are recorded on the chart.
Formative: chart completion (LI2.01P)
Dawe, R., et al. “How to Read a Dramatic Script”, ResourceLines 9/10. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-012906-02
Dawe, R., et al. “How to Stage Plays”, ResourceLines 9/10. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-012906-02
“The Monkey’s Paw”, “The Ransom of Red Chief”, “The Most Dangerous Game”
· Provide a student mentor to scribe for students with physical handicaps.
· A tape recorder might assist learning-disabled students.
· The teacher and students know the following information about improving enjoyment of live theatre for hearing-impaired audience members. An infra-red (Sennheizer) unit may be reserved at many theatres, and usually picked up at the manager’s office. Without a working unit, a hearing-impaired student is unable to hear, especially a woman’s voice, even with the powerful sound systems in most theatres.
Time: 75 minutes
Students recognize that what a character says is important, but what a character does not say can sometimes be as important. Students distinguish between text and subtext, in the play being studied. Students discern how the tone of a work can influence an interpretation. Students read and study a scene or an excerpt most appropriate for this activity.
Strand(s): Literature Studies and Reading, Writing, Language
Overall Expectations:
LIV.01P - read and demonstrate an understanding of a variety of literary and informational texts;
LIV.03B - identify and explain the effect of specific elements of style in a variety of literary and informational texts;
WRV.05B - edit and proofread to produce final drafts, using correct grammar, spelling and punctuation, according to the conventions of standard Canadian English specified for this course, with the support of print and electronic resources when appropriate.;
LGV.01P - use knowledge of vocabulary and language conventions to speak, write, and read clearly and correctly.
Specific Expectations:
LI1.02P - select and read texts for a variety of purposes, with an emphasis on recognizing the elements of literary genres and the organization of informational materials, collecting and using information, extending personal knowledge, and responding imaginatively;
LI3.02P - explain how authors choose words and phrases to achieve intended effects; v
WR5.12B - use and spell homophones correctly; v
LG1.01B - describe strategies used to expand vocabulary;
LG1.04B - select words and phrases appropriate to informal and formal styles, to suit the purpose and intended audience of oral and written work;
LG1.07B - recognize, describe, and use correctly, in oral and written language, the conventions of standard Canadian English for spelling, capitalization, and punctuation, including:
- spelling: homophones and possessive pronouns and adjectives;
- capitalization: of proper nouns and in direct quotations, scripts, dialogue, and poetry;
- punctuation: period, question mark, exclamation mark, comma, dash, apostrophe, colon,
quotation marks, parentheses, ellipses.
· Have pre-assigned roles for reading in class.
· Define subtext, and have the students explore subtext using their own slang, jargon, dialect, colloquialism, and homophones. Subtext exposes the underlying attitude and emotions that provide reason for the words and actions of a character.
· Knowledge of the conventions of script
· Knowledge of writing in rôle
2. The class reads/reviews a script.
Define “subtext” and give an example from the script.
A reader discovers the subtext, intuiting the attitude and emotions that provide reasons for the words and actions of a character.
Students add this term to the chart distributed in Activity 1.
Each student chooses a line and explains what the character was thinking when the line was delivered.
Students demonstrate their understanding of how the author’s diction did or did not achieve an intended effect. Understanding is demonstrated when a student can refer to two possible meanings for a chosen text.
Homophones are linked to the discussion of diction and intended effect. Students compose a couple of lines in which homophones are used. Students may perform their lines in small groups to illustrate the correct use of each homophone included.
Students choose a different line from the play. To illustrate the text and subtext, the students draw a comic frame. The character’s spoken line is illustrated in a quotation bubble, and the character’s thoughts are illustrated in a thought bubble.
In the Response Journal, each student reflects on a situation when his/her spoken word conveyed only a portion of the whole conversation.
Summative:
· checklist that includes the following: line choice, clarity of subtext statement, suitability to author intent (LI3.02P)
· teacher evaluation of homophone activity (WR5.12B)
Ballah, J. Drama in Perspective. Toronto: Harcourt Brace, Canada, 1993.
ISBN 0-7747-1416-6
Barlow-Kedves, ed. “Oral Pieces”, SightLines 9.Toronto: Prentice Hall Canada.1999.
ISBN 0-13-012906-2
· Select lines for students who require specific direction.
· Offer more repetition of the process to students with learning disabilities or for whom English is a second language.
Time: 75 minutes
Students use voice techniques to create and achieve a particular effect on a specified audience. Students read and study a scene or an excerpt most appropriate for this activity.
Strand(s): Writing, Language
Overall Expectations:
WRV.02P - identify the literary and informational forms suited to specific purposes and audiences and use the forms appropriately in their own writing with an emphasis on communicating information accurately;
LGV.01P - use knowledge of vocabulary and language conventions to speak, write, and read clearly and correctly.
Specific Expectations:
WR2.01P - identify the purpose for each piece of writing;
LG1.04B - select words and phrases appropriate to informal and formal styles, to suit the purpose and intended audience of oral and written work. v
· Prepare a presentation rubric with or for the class.
· Have two sets of cue cards prepared: one with lines from the play being studied (the lines chosen from the play should have strong rhythm and rhetorical devices); a second with emotions (e.g., fear, compassion), and a third with an intended audience (e.g., children, seniors).
· Invite members of school or community theatre groups to model voice exercises that show rhythm, repetition, and other sound devices.
· Understanding of the concept of preparing a presentation for an intended audience
· Knowledge of working collaboratively in co-operative groups
· Experience providing constructive criticism to other students
3. Students select or are put into groups. Each group draws three cards: a line from the play, an emotion, and an intended audience. The term intended audience should be added to the chart in Activity 1.
In their small groups, students practise clear and correct presentation of the line while conveying the specified emotion. Each student writes in his/her Response Journal a self-assessment that includes one strength and one weakness of the presentation. Group members provide constructive criticism for each member’s presentation by stating one positive point about a student’s technique and one suggestion for improvement of the impact on the intended audience.
Students select several lines from the play that is being studied and rehearse the reading using the devices of sound and voice: pitch, loud and soft projection, and tone.
Students present their selected lines to the class.
The presentations are evaluated using a rubric.
Extension: Volunteers might share their readings with other classes in the school.
Extension: The students may select or be put into groups. Each group draws three cards: a line, an emotion, and an intended audience. In small groups students practise clear and correct presentation of a tongue twister while conveying the specified emotion. Group members provide constructive criticism for each member’s presentation by stating one positive point about a student’s technique and one suggestion for improvement on the impact for the intended audience.
Formative: peer feed back in small group practice
Summative: rubric (LG1.04B)
Radio plays, taped readings of plays, radio announcers
· Students who suffer from extreme anxiety may be given an opportunity to present to a smaller audience or to audiotape their vocal exercises.
· Students with hearing impairments should be seated close to the presenters.
· Students who have theatre aptitude/experience may be encouraged to perform in school assemblies, local churches, or community events.
· Dialects and speech impairments need to be taken into consideration when evaluating the presentations.
Time: 75 minutes
The students explore the connection between language and human movement. Students learn the importance of body language, gesture, and movement to assist in the interpretation of drama text. Students read and study a scene or an excerpt most appropriate for this activity.
Strand(s): Writing, Language
Overall Expectations:
WRV.04B - revise their written work collaboratively and independently with a focus on support for ideas accuracy, clarity, and unity;
LGV.02B - use listening techniques and oral communication skills to participate in classroom discussions and more formal activities, such as storytelling, role playing, and reporting/presenting, for specific purposes and audiences.
Specific Expectations:
WR4.03P - make constructive suggestions to peers, using prompts, checklists, open-ended statements, and questions; v
LG2.04P - use eye contact, specific examples, humour, and visual aids and technology, as appropriate, to engage the audience’s interest during oral presentations. v
· Plan strict time limits and organize groups carefully ahead of time.
· Provide and post pictures or film clips of the time period to assist students to visualize the costumes, props, and behaviours that they need to explore movement for their chosen characters.
· Collect props and costume items appropriate to the play being studied.
Students exhibit knowledge from Activities 1-3.
4. In this short warm-up, students say “mmm” in as many ways as they can. They accompany each sound with a gesture that assists their interpretation (“mmm” meaning tastes good and rubbing the stomach area or “mmm” meaning “I have a headache” and holding the head). The students may carry on a dialogue in which they use only one sound to convey their thoughts and feelings. Provide a scenario for the dialogues.
For this short activity, students select or bring to class an object that might be used or worn in a play they are creating or studying (e.g., tambourine, horn-rimmed glasses, a dreamcatcher, a shawl). In class discussion, students explain the connection between the object and the character. How did the character acquire the object? Why is the object important to the character? What will become of the object? Does the object evoke a particular period or culture?
In this main activity, students, in groups of three or four, select a character from a drama text they are studying or a script they are writing. Alternatively, roles are assigned by the teacher. They use the chart provided (Chart 1) to prepare for a movement for the character from point A to point B in the classroom.
Chart 1
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Who are you? (time period, city, place, continent, country, age, sex, culture) What is happening in your country/town? |
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Where are you or where are you going? Why are you going? |
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Where have you been recently? in the last month? in the last year? |
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How are you feeling? Why are you feeling this way? What will you do next? Why? |
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Who is with you? How do you feel about the person you are with? If you are alone, how do you feel about that? |
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Do you like the place you are in? Why/Why not? What are you wearing (include footwear)? |
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When the chart is finished, each group practises a movement/walk/run for the chosen character to be performed in front of the class. The following questions might be written out for the students to consider as they create movements for their characters. How might your character walk when you’re in a hurry? angry? relaxed? How might your character greet someone? How might your character laugh? cry? sneeze? What might your character carry with him/her most of the time? How? How might your character eat a delicacy, consume a beverage? What costume item might your character wear a great deal? How might this costume affect the movement of the character?
Students perform their walks for the class. The teacher may want to have the students deliver the lines they rehearsed in Activity 3.
Each performing group receives suggestions from a peer group to improve the impact of their walk on the audience.
Select two or three volunteers from the class to do an instant replay adapting their walk using the student/peer feedback.
Groups evaluate the value of peer group suggestions based on a previously created scale.
Extension: As an optional warm-up activity, groups of four students find a space in the room, and try to catch imaginary balloons overhead that are just beyond their reach. As they do this, they say the word “O” with a variety of different meanings. Lead the class discussion about the relationship between facial expression, movement and speech, creating a blackboard chart on the feelings expressed in several “O’s” and the accompanying manner of delivery through voice and movement.
Extension: Some students might enjoy adding music or sound effects to accompany the unique walks of their characters. A class could co-operate in a dance drama. In dance drama, a group tells a story that is choreographed to music. Some techniques of the dance drama include: use of patterns and mirror images, use of strong versus weak forces, variety of pace, and variety of levels.
Formative: completion of character charts
Summative:
· movement rubric which includes movement, gesture and facial expression (LG2.04P)
· evaluation of peer group suggestions using scale created by class (WR4.03P)
Booth, D. The Talk Curriculum. Toronto: Heinemann, 1991. ISBN 0-435-08597-2
Maley, A. Role Play, A Resource Book for Teachers. Toronto: Oxford University Press, 1987.
Melville, A. Role Play. 1996. ISBN 0-7278-5142-X
Role Play Action-Learning Manual. Boston: University of Massachusetts, Center for International Education, 1996. ISBN 0-932288-98-7
Viola, A. T. “I Want to Be Moved”, Theatre Machine II: A Resource Manual for Teaching Acting. Denver: Pioneer Drama Service Inc., 1996.
Vine, E. and W. Fairhead. Remove the Blindfold. Toronto: Oxford University Press, 1987.
· Roles should be adapted to include students with learning disabilities so their experience in front of the class is positive.
· A storyboard format could be used to provide more structure for learning disabled students.
· The student could sketch the action in a series of frames showing each stage of the walk.
· Include roles for physically challenged students and carefully select roles for ESL students who may struggle with the language demands of drama.
Time: 150 minutes
Students apply the script writing knowledge they have learned in the previous activities. They create a script based on a character from the play being studied. This script is peer edited and evaluated using a rubric.
Strand(s): Writing, Language
Overall Expectations:
WRV.03P - use a variety of forms of writing to express themselves, clarify their ideas, and engage the audience’s attention, imagination, and interest;
WRV.05B - edit and proofread to produce final drafts, using correct grammar, spelling and punctuation, according to the conventions of standard Canadian English specified for this course, with the support of print and electronic resources when appropriate;
LGV - 01P - use knowledge of vocabulary and language conventions to speak, write, and read clearly and correctly.
Specific Expectations:
WR3.03P - use a unifying image, emotion, or sensation to structure descriptive paragraphs or poems;
WR5.08B - make compound subjects agree with verbs in simple and compound sentences;
WR5.10B - use consistent and appropriate verb tense and voice (i.e., active and passive) for clarity in narrative and expository writing;
WR5.14B - use a variety of resources to correct errors in spelling; v
WR5.16B - adapt punctuation and capitalization for the special requirements of direct quotations, scripts, dialogue, and poetry; v
LG1. 01B - describe strategies used to expand vocabulary;
LG1.02B - identify and explain examples of slang, jargon, dialect, and colloquialism as well as of standard Canadian English, in literary texts and their own oral and written work;
LG1.04B - select words and phrases appropriate to informal and formal styles, to suit the purpose and intended audience of oral and written work;
LG1.05B - recognize, describe, and use correctly, in oral and written language, the language structures of standard Canadian English and its conventions of grammar and usage, including:
- parts of speech: nouns, pronouns, verbs, adverbs, adjectives, conjunctions, preposition, and
interjections;
- simple, compound, and complex sentences;
- components of sentences: subject, predicate, object, subject complement, prepositional
phrases, main and subordinate clauses;
- agreement between subject and verb, and between pronouns and antecedent;
- consistency of verb tense and voice;
LG1.06B - recognize, describe, and correct sentence errors in oral and written language;
LG1.07B - recognize, describe, and use correctly, in oral and written language, the conventions of standard Canadian English for spelling, capitalization, and punctuation, including:
- spelling: homophones and possessive pronouns and adjectives;
- capitalization: of proper nouns and in direct quotations, scripts, dialogue, and poetry;
- punctuation: period, question mark, exclamation mark, comma, dash, apostrophe, colon,
quotation marks, parentheses, ellipsis.
· Prepare a peer-editing checklist that lists script-writing conventions, and review print and digital spell checking resources.
· Review subject-verb agreement, voice, and tense, and simple and compound sentence structure.
· Choose to inform students that this script is a basis for set design and performance in future activities.
· Prepare or obtain a rubric for script writing.
· Students have an understanding of collaborative and co-operative group habits.
· Students have an understanding of the conventions of script writing.
· Students know how to write a character profile (students summarize character background, personality and answer many questions about the character: Who am I? Where am I? What am I doing? What do I want? Why do I want it?).
5. Students create a script that is evaluated and must follow the conventions for script writing which have already been established in Activity 1.
Students select a character from the play they are studying and use Chart 1, Activity 4 to explore their character.
Students imagine a situation in which the chosen character meets another character who has opposing views on an important issue. In pairs, students compose a script for an intended audience of the conversation between these two people.
Students exchange scripts with another pair of students in order to peer edit using an editing checklist provided by the teacher.
During the editing process the teacher circulates and draws the students’ attention to consistent language level and dialect in a script through attention to consistent language level, dialect, and connotation.
Students hand in group scripts to be evaluated according to the rubric previously developed by the students and the teacher.
Formative: Peer Editing Checklist, including unity of impression, punctuation, and mechanical correctness of subject - verb agreement.
Summative: Script Writing Rubric (WR5.16B) (WR5.08B) (WR5.14B)
Hilker, D. and B. Duncan. Transitions. Toronto: Harcourt Brace and Co. Canada, 1995.
ISBN 0-7747-0151-X
George, J., F. Ward, and D. Stone. Teacher’s Guide. On Common Ground. Toronto: Oxford University Press, 1994. ISBN 0-19-541133-1
· Group students with physical handicaps with physically able students.
· Provide students who have difficulty writing with access to word-processing technology to prepare the script.
Time: 150 minutes
Students create a diorama/model or sketch of a potential set design for a script or a play being studied in class. A diorama is a small three-dimensional picture or model presentation of a particular scene or event. Students consider an intended audience. Students may wish to use the script they created in Activity 5. Students also write the rationale for specific details of the proposed set, showing its suitability for the intended audience. Students learn the elements of set design such as colour, contrast, focus, placement of furniture, and the entrances and exits.
Strand(s): Writing, Language, Media Studies
Overall Expectations:
WRV.03P - use a variety of forms of writing to express themselves, clarify their ideas, and engage the audience’s attention imagination, and interest;
WRV.05B - edit and proofread to produce final drafts, using correct grammar, spelling and punctuation, according to the conventions of standard Canadian English specified for this course, with the support of print and electronic resources when appropriate;
LGV.01P - use knowledge of vocabulary and language conventions to speak, write, and read clearly and correctly;
MDV.02P - use knowledge of a variety of media forms, purposes, and audiences to create media works.
Specific Expectations:
WR3.02P - structure expository paragraphs using a topic sentence, supporting sentences to develop the topic, connecting words to link the sentences, and a concluding sentence;
WR5.07B - identify and correct sentence fragments, run-on sentences, and comma splices;
LG1.05P - recognize, describe, and use correctly, in oral and written language, the language structures of standard Canadian English and its conventions of grammar and usage, including:
- parts of speech: nouns, pronouns, verbs, adverbs, adjectives, conjunction, prepositions,
and interjections;
- simple, compound, and complex sentences;
- components of sentences: subject, predicate, object, subject complement, prepositional
phrases, main and subordinate clauses;
- agreement between subject and verb, and between pronoun and antecedent;
- consistency of verb tense and voice;
LG1.07B - recognize, describe, and use correctly, in oral and written language, the conventions of standard Canadian English for spelling, capitalization, and punctuation, including:
- spelling: homophones and possessive pronouns and adjectives;
- capitalization: of proper nouns and in direct quotations, scripts, dialogue, and poetry;
- punctuation: period, question mark, exclamation mark, comma, dash, apostrophe, colon,
quotation marks, parentheses, ellipses;
MD2.03P - analyse the characteristics of different audiences and create media works designed specifically for them. v
· Review sentence fragments, run-on sentences, and comma splices.
· Students have a copy of the script written by groups in Activity 5.
· Ensure adequate creative materials and supplies are available for students to create set designs.
· Create or design a rubric for set design.
· Invite representatives from school or community theatres as guest speakers to show models/sketches of designs they have made.
· Create a record by taking photographs of each constructed set design.
· A clear understanding of the script they are working with and the intended audience for their play
6. The teacher shows an example of an effective set design and students learn the components of successful design: colour, contrast, focus, placement of furniture, and placement of exits and entrances.
Students add the new terms to the terminology chart.
Each student creates a set design/diorama that would be appropriate for the script he/she has chosen.
Students write a numbered list of statements, using correct sentence form, which explains what aspects of their set design are suitable for the script.
Each student conferences with two other script writers. Students provide constructive feedback to each other in the form of two positive comments and two suggestions for improvement for each set design. Provide the students time to improve set-designs after peer feedback.
The set designs are evaluated by the teacher using the rubric.
Extension: Extend the design lesson by preparing “Chance” cards for the class to draw from that set the scene for a variety of cultures and dates in the past or future. If the set designs do not reflect these changes, encourage discussion as to how the set design would change under the new circumstances.
Formative: constructive criticism provided by conference partners
Summative: rubric for set design (MD2.03P)
Booth, D. Story Drama: Reading, Writing & Roleplaying across the Curriculum. Markham: Pembroke Publishers, Limited. ISBN 1-55138-038-2
Dawe, R., et al. “How to Stage Plays”, ResourceLines 9/10. Scarborough: Prentice Hall Ginn Canada, 1999. ISBN 0-13-012906-02
Engelsman, A. and P. Engelsman. Theatre Arts 2 Student Handbook: On-Stage & Off-Stage Roles: Fitting the Pieces Together. 1998. ISBN 1-56608-040-1
Structuring Drama Work: A Handbook of Available Forms in Theatre & Drama. Cambridge: Cambridge University Press, 1990. ISBN 0-521-37635-1
· Visually impaired students are to be paired with visually able students.
· Students with physical handicaps may describe the setting and rationale for their scripts into a tape recorder.
Time: 225 minutes
The students present a play or an excerpt from a play using the drama convention of Reader’s Theatre. Students may use this opportunity to present the scripts created in class or present other excerpts or a short play taught in class.
Strand(s): Language
Overall Expectations:
LGV.02B - use listening techniques and oral communication skills to participate in classroom discussions and more formal activities, such as storytelling, role playing, and reporting/presenting, for specific purposes and audiences.
Specific Expectations:
LG2.02P - use techniques of effective listening and demonstrate an understanding of oral presentations by restating the main ideas presented and identifying the strengths and weaknesses of presentations;
LG2.04P - use eye contact, specific examples, humour, and visual aids and technology, as appropriate, to engage the audience’s interest during oral presentations; v
LG2.07P - analyse their own and others’ oral communication skills, identifying strengths and weaknesses and suggesting ways to improve.
· Prepare a description of Readers’ Theatre. Readers’ Theatre allows the students to present the dialogue of a play with minimal props and costumes and allows students to focus on facial expression, body language, tone and meaning. The students do not have to memorize lines.
· Review the elements of tableau (the students remain absolutely still, an interesting focal point, facial expression, different levels, framing the tableau to the audience).
· Prepare a rehearsal schedule.
· Plan with drama teachers to review the safety rules of the classroom and hallways to ensure safety during rehearsals and performances.
· Students understand the qualities of a good vocal presentation.
· Students understand the role of a good audience.
7. Organize the class into groups and assign roles.
Students read and study the play/scene concentrating on the following requirements: confident reading, clear speaking, appropriate facial expressions, and body movements. Minimal costumes are props are optional.
Students decide how they will most effectively stage the reading.
Students create a tableau as a conclusion to the performance that illustrates the main message of the script or that considers the central issue of the scene. Students refer to Tableau: Guideline for Self-Evaluation.
Students write out the message in block letters prior to the performance to be displayed by the actors as a closure to the tableau.
Use the performance rubric to assess the performances. Adapt performance assessment tools as necessary.
Extension: Students may decide to take the scripts to a performance level. Students consider the time and work it takes to make a polished performance. Some performance criteria are suggested in the rubric.
Extension: As a related writing activity, students could write a reflection in their personal Response Journal that compares their own lives to the characters shown in the performances, or assume a role of one character and write a journal entry based on that character’s feelings in a particular situation.
Formative:
· group assessment checklist
· tableau - guideline for self-evaluation
Summative: rubric for performance (LG2.04P)
Toutant, A. “Interpreting Plays” and “Readers’ Theatre” Endless Possibilities. Toronto: Oxford Press, Canada, 1998. ISBN 19-5413644
Saliani, D. and N. Morine. “Present a Play”, Crossroads. Toronto: Gage Educational Publishing Company, 1999. ISBN 0-7747-0197-8
· Students with extreme anxiety may videotape or audiotape their performances so the performance is a positive experience.
Time: 75 minutes
Students create a media project, adapting information from a play read and studied in class. Students create a 30-second commercial (radio, television, or script) which would promote their play for an intended audience.
Strand(s): Media Studies
Overall Expectations:
MDV.02P - use knowledge of a variety of media forms, purposes, and audiences to create media works.
Specific Expectations:
MD2.01P - adapt a work of literature for presentation in another media form;
MD2.02P - create media works for different purposes; v
MD2.03P - analyse the characteristics of different audiences and create media works designed specifically for them.
· Provide two video clips of a successful commercial promoting an event.
· Provide a stop watch.
· Link time period and work in Teaching/Learning Strategy 1 to prior knowledge.
· Students are familiar with collaborative learning strategies.
· Students understand the concept of intended audience.
· “Elements of Media Works” The Ontario Curriculum Grades 1-8, Language, 1997
8. The students select an audience from a student-generated list (i.e., children’s library group, high school class, adult theatregoers). Students review the audiences of a particular time period, and the teacher can use the opportunity to discuss with the students how the culture of that time might have inspired the writer to create the work.
In groups of three or four, students write the text for a commercial advertising a play that they have studied.
Students review drama by listing the criteria that could be used to evaluate the commercial.
Students listen to the commercials and complete the Media Project Peer Evaluation sheet.
Each student assesses his/her own commercial, identifying one strength and one weakness on the bottom of the evaluation sheet.
Formative: peer evaluation checklist
Summative: teacher rubric created from the same criteria (MD2.02P)
a collection of promotional video clips
Di Leonardo. “Advertising and Design”, Literature and Media 9. Toronto: Thomson International Publishing, 1999. ISBN 0-17-618701-4.
Hilker, D. and S. Harper. “Creating a Visual Presentation”, Elements of English 9. Toronto: Harcourt Brace, Canada Ltd., 1999. ISBN 07747-0755-2
· Pair learning disabled students with assistants.
· Students with word-processing experience could assist students with no experience or training.
|
Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
|
Preparation |
- limited |
- some |
- considerable |
- thorough |
|
Audibility of Voice |
- limited |
- some |
- considerable |
- consistent |
|
Articulation and Clarity of Voice |
- limited |
- some |
- considerable |
- consistent |
|
Originality and Variety of Presentation Techniques |
- limited |
- some |
- considerable |
- extensive |
|
Energy and Enthusiasm to Engage Audience |
- limited |
- some |
- considerable |
- consistent |
|
Suitable Approach for Specified Audience |
- limited |
- some |
- considerable |
- complete |
|
Criteria |
1 |
2 |
3 |
4 |
|
Punctuation |
- many errors |
- some errors |
- few errors |
- minimal errors |
|
Stage Directions |
- limited use |
- some use |
- considerable use |
- extensive use |
|
Characterization |
- limited development |
- some development |
- considerable development |
- extensive development |
|
Plot |
- limited development |
- some development |
- considerable development |
- thorough development |
|
Narration |
- limited use |
- some use |
- appropriate use |
- extensive use |
|
Criteria |
1 |
2 |
3 |
4 |
|
Placement of Furniture and Props |
- limited |
- minimal |
- appropriate |
- appropriate placement with attention to detail |
|
Placement of Entrances and Exits |
- limited |
- some |
- appropriate |
- appropriate placement with attention to detail |
|
Attempt at Creating a Focal Point |
- limited |
- some |
- effective |
- successful |
|
Use of Colour, Contrast and Lighting |
- limited |
- some |
- effective |
- thorough use with attention to detail |
|
Criteria |
1 |
2 |
3 |
4 |
|
Facial Expression |
- limited |
- some |
- appropriate |
- dynamic |
|
Gestures |
- limited |
- some |
- appropriate |
- dynamic |
|
Articulation and Clarity of Voice |
- limited |
- some |
- considerable |
- consistent |
|
Display of Emotions |
- limited |
- some |
- appropriate |
- dynamic |
|
Use of Props |
- limited |
- some |
- appropriate |
- consistent |
9. Is there a focal point/centre of interest?
Is there a variety of levels (low, mid, high)?
10. Do facial expressions convey thoughts and feelings?
Are the relationships of characters clear and are their motivations implied?
Is the scene easily identified from the play?
11. Does the audience desire to know what happens next: a surprise, a conflict, a challenge, a time restrain?
|
Criteria |
1 |
2 |
3 |
4 |
|
Communication of Information and Ideas |
- limited clarity and purpose |
- some clarity and purpose |
- considerable clarity and purpose |
- high degree of clarity and purpose |
|
Creativity and Layout |
- few original ideas |
- some original ideas |
- several original ideas |
- many original ideas |
|
Use of Relevant Material |
- limited |
- some |
- considerable |
- thorough |
|
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Names of Group
Members |
||||
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EXPLORATION: |
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Brainstorming |
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Group Harmony (negotiation, mediation, assertiveness, coping with change or frustration) |
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INTERPRETATION: |
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Rehearsal Participation |
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Meaning Realized |
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COMMUNICATION: (The Performance) |
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Cues Memorized |
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Stayed in Character |
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Motivation Evident |
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Use of Movement |
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Use of Props or Set |
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Use of Sound or Music |
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Use of Lighting |
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Voice Projection |
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Emotional Concentration |
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Overall Impression |
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ADDITIONAL COMMENTS:
|
Was the student punctual and committed to daily attendance? |
1 |
2 |
3 |
4 |
|
Did the student understand the task that was assigned? |
1 |
2 |
3 |
4 |
|
Was the student always aware of the purpose of the assignment and did he/she constantly encourage the others in the group to work towards the same purpose? |
1 |
2 |
3 |
4 |
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Was the student prepared to show initiative engaging in a number of approaches to the task? Was the student able to work co-operatively with others? |
1 |
2 |
3 |
4 |
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Was the student’s attitude towards the task positive? |
1 |
2 |
3 |
4 |
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Was the student willing to concentrate and work hard? |
1 |
2 |
3 |
4 |
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Did the student show leadership and appropriate task-and-maintenance-oriented roles in the group? |
1 |
2 |
3 |
4 |
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Was the student sensitive and attentive to the needs and contributions of the others in the group? |
1 |
2 |
3 |
4 |
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Was the student openly exploring ideas and receiving suggestions from his/her peers and from the teacher? |
1 |
2 |
3 |
4 |
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Did the student evaluate fairly and constructively? |
1 |
2 |
3 |
4 |
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